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Managed to buy the final accessories for my Monthly Project outfit, which will be shown in all it's glory in December!
This blingy belt came from the Chest Heart and Stroke Charity shop in Hawick. Teamed with the jumper, trousers and cap for the overall effect.
Treasure Hunt Monthly Project 10: October Knickers Model's Own shot
IMF Managing Director Kristalina Georgieva arrives at the venue of the G20 Summit, Nusa Dua, Bali, Tuesday, Nov. 15, 2022. G20 Indonesia Media Center/Akbar Nugroho Gumay/nym/ras/22
IMF Managing Director Christine Lagarde meets with Federal Chancellor of Austria Sebastian Kurz at IMF Heaquarters on Thursday, February 21 in Washington, D.C. Ryan Rayburn/IMF Photo
Managing Director Kristalina Georgieva participates in a panel discussion on post COVID-19 recovery and resilience moderated by Bloomberg’s Francine Lacqua with Laurence Fink, Chairman and CEO of Blackrock Inc., Mark Carney, Special Envoy for Climate Action and Finance for the United Nations, and Vera Daves de Sousa, Finance Minister of Angola during the 2020 Annual Meetings at the International Monetary Fund in Washington, DC, on October 13, 2020. IMF Photo/ Cory Hancock
A beautiful historic Scottish Fishing bay dating back to the 1700's, under duress due to problems between the "Owner" and local fishermen who have utilised this historic harbour as they and their fore fathers have done for hundreds of years .
I revisited today Tuesday 27th August 2019 , I was disappointed to see concrete barriers blocking access to cars and fishing boats , sad circumstances indeed , though I still managed to capture as much of the bays charm a I could , its ongoing battle and new concrete blocks preventing access made me feel unhappy and sad, any ways I have pasted some of my previous comments and news items reference this pathetic situation below for your perusal, I am on the side of the fishermen , its a sad tale indeed.
Check my previous posts in my Cove Bay folder for photos of the harbour in its glory days that I have taken over the years before this nonsense raised its ugly head.
Previous Posts
I love this bay, its a beautiful tranquil place, however after reading news reports on a court judgement 13/7/2018 forcing the fisher men to remove their boats within 28 days it saddened me, hence I made a trip today Friday 13th July 2018 to capture the views and scenery before this unpopular ruling is implemented, what a sad situation indeed, I have included the news report on the legal wrangle at the end of this description.
Cove is a 20 minute drive from my home in Aberdeen Scotland, it was a pleasure to visit today and capture the tranquility that it presented.
Scattered across the harbour are stones with various sealife characters carved into them.
Cove Bay is a suburb on the south-east edge of Aberdeen, Scotland.
Today Cove is home to over 7000 people. It is a popular residential location owing to its extremely village-like status.
It is a quiet suburb just at the edge of the City and in 2015 won the Silver award for Scotland in bloom. Nearby Altens and Tullos Industrial Estates, affording ample employment opportunities.
History
Cove Bay is situated to the east of the ancient Causey Mounth, which road was built on high ground to make passable this only available medieval route from coastal points south from Stonehaven to Aberdeen.
This ancient trackway specifically connected the River Dee crossing (where the Bridge of Dee is located) via Portlethen Moss, Muchalls Castle and Stonehaven to the south.
The route was that taken by William Keith, 7th Earl Marischal and the Marquess of Montrose, who led a Covenanter army of 9000 men in the battle of the Civil War in 1639.
Cove Bay was a village in the extreme north-east corner of Kincardine, governed from Stonehaven, until 1975, when it was added to the City of Aberdeen. Though simply referred to as Cove, in the 19th and early 20th centuries it was known as The Cove, becoming Cove Bay around 1912.
Industry
Cove has been noted for industries such as granite, which was quarried in several locations to the south of the village. Owing to its close-grained texture, Cove granite was one of the hardest in north-east Scotland and proved highly resistant to frost, making it ideal for causeway stones used in the construction of roads. It was widely exported to cities in England, including Billingsgate Market in London.
Fishing
The village itself sprung up around the fishing industry, with the boats berthed on a shingle beach, a gap in the rocks that afforded a natural harbour. During this time, it is estimated that approximately 300 people lived in the area. In the mid 19th century the fishing was at its height, which, over years, has included cod, haddock, salmon, herring and shellfish. The piers and breakwater were constructed in 1878. At the end of World War I the fishing began to decline. At present only a couple of boats pursue shellfish on a part-time basis.
Between 1894 and 1937, Cove also housed a fishmeal factory, the Aberdeen Fish Meal Factory, which was located at the edge of the cliffs. It produced quality manure which was exported to both Europe and America. It became locally known as "the stinker" because of the processing odour, which was highlighted by the Aberdeen entertainer Harry Gordon in a parody entitled A Song of Cove.
Amenities
Retail
Cove has just had a brand new Co-operative built just off of Earnshugh Circle.
To the west of Loirston Road is the Cove Shopping Centre, which overlooks Loirston Primary School. This houses a pharmacist, the Wee China Chinese takeaway/Chip shop, Ruby Tuesdays beauty salon and the Harr Rock cafe (Cove's second).
Within the new development of cove a local Sainsbury's has opened. There is also the Harr Rock Cafe (the first one), a hairdressers and a gift shop within the new development.
There are also 2 RS McColl newsagents. One located at Bervie Brow in Altens, and a second located on the corner of Loirston Road and Cove Road which also houses a Post Office.
Hospitality
The Cove Bay hotel is located on Colsea Road. There is also The Aberdeen Altens Hotel in Altens, which has 216 bedrooms, making it the largest of the three Thistle Hotels in Aberdeen.
There is also a pub, the Langdykes which now has an Indian restaurant situated inside called The Curry lounge which you can sit in or take away.
Transport
Bus services to and from Cove and the wider area of Aberdeen are available. These are run by First Aberdeen with the numbers 3 (to Mastrick) and the 18 to Dyce, via Kincorth. Stagecoach also cover cove partially, with numbers 7A & 8 (Both to the City Centre).
Healthcare
Cove Bay has its own medical centre, the Cove Bay Medical Centre. It was originally located on Catto Walk, but moved to a new facility off Earns Hugh Road. Cove Dental Care has since moved into the old surgery building.
Sport
Cove is currently home to two football teams: Cove Rangers, who currently play in the Highland Football League, they temporarily play in Harlow Park, Inverurie, as their old home Allan park was demolished to make way for housing. Cove Thistle, who hold amateur status. Sunday amateur team Cove Revolution folded in 2010.
There are also many youth teams in the area that are run by Cove Youth FC. The Cove Youth FC area SFA credited community club, organizing players from 6 years old up to 19 years old. They also have a girls section. The Cove Community Football Trust is run by Cove Rangers FC, Cove Thistle FC and Cove Youth FC.
Other Amenities
A state-of-the-art library was recently built between Loirston Primary School and the Cove Shopping Centre. There are blueprints for a local sports centre to also be built in the near future.
Education
Cove has two primary schools, Charleston Primary School and Loirston Primary School. Most secondary pupils attend the nearby Kincorth Academy, but some choose to go to Portlethen Academy.
Future Developments
Aberdeen Gateway[edit]
Construction on a new Aberdeen Gateway industrial development began in 2008. It will see new offices and industrial units built to the south of the village. Current tenants at the site include National Oilwell Varco (NOV), Driving Standards Agency and Hydrasun. A Community football pitch is also inlcluded within the development.
Cove Academy
Plans for a secondary school in Cove have now been approved and will be situated alongside Wellington Road. It is thought that once this is built pupils from Cove, Torry as well as Kincorth will attend this school.
The Legal Wrangle - Landowner V Fishermen - Judgement 13/7/18
Fishermen told to move boats from Cove Bay after legal dispute
Fishermen have been told to move their boats from an Aberdeen bay after a long-running dispute.
Several fishermen were fighting an eviction order on behalf of landowner Pralhad Kolhe at Cove Bay, where they had been fishing for many years.
In a written judgement, a sheriff has given them 28 days to move their boats and equipment from Mr Kolhe's land.
However, Sheriff Andrew Miller also ordered the removal of obstructions to vehicular access onto the pier.
The case was heard at Aberdeen Sheriff Court earlier this year.
One of the fisherman, Jim Adam, told a court he was "stunned" to receive a legal letter telling him to remove his boat.
He had been fishing from Cove Bay since 1966.
'We were hopeful'
The first day of the hearing heard the letter said the landowner, who lives in a house overlooking the harbour, was unable to make use of his land for amenity purposes and that he did not wish Mr Adam's vessel, or any other vessel, on his land.
In the ruling, Sheriff Miller also gave Mr Kolhe 28 days to remove the obstructions to vehicle access to the pier.
Mr Adam told BBC Scotland: "We are disappointed, we were hopeful.
"The good news is at least for the recreational folks they have got vehicle access."
News Report From P&J Aberdeen
A campaign group could use new powers to try to buy the land at the centre of a long-running dispute over access to Cove Harbour.
Councillors in Aberdeen agreed yesterday to investigate using the purchase powers contained in the Community Empowerment Scotland Act 2015 to finally resolve the stand-off.
The proposal was backed after Jim Adam, chairman of the Cove Fishermen Association, delivered an emotional plea to Aberdeen City Council’s petitions committee yesterday.
He outlined the group’s ongoing disagreement with the landowner, Pralhad Kohle, over vehicle access to the harbour-side.
Mr Adam highlighted the historical use of the harbour since the 1700s for fishing boats and recreational users, showing members photographs as evidence.
He also said the denial of emergency access to the harbour would create safety issues, and spoke of a strong community spirit in the village.
Cove Councillor Neil Cooney stated: “Boats have been fishing out of Cove since mediaeval times; we need to retain that heritage.”
Committee convener Alan Donnelly said: “You would think, with 11,000 signatures, that the owner would take it seriously and come along.”
He added: “We are moving today that the council refers the petition to the landowner, with the hope that they can come to an amicable solution.
“And request a report to the communities, housing and infrastructure committee to investigate the viability of the community to use the new Community Empowerment Scotland Act 2015 to purchase the land.”
Speaking afterwards Mr Adam said: “We are very encouraged by the support from the council. It’s very positive and has opened up a number of avenues, but we would like there to be an amicable solution.
“The Community Empowerment Act is a very useful tool, but it would be a last resort.”
Mr Kohle, who was not in attendance, owns a house overlooking the bay and some of the land at the harbour below.
Scotland’s First Minister has pledged to investigate the “suffering” faced by the Cove Harbour fishing community as a result of a devastating fire and a dispute with the landlord.
The first minister promised action after being warned the Scottish Government risked ignoring a group whose livelihoods had been threatened by recent events.
Ms Sturgeon said the government wanted “to do everything we possibly can” to help communities faced with difficulties after the Cove Harbour situation was raised with her.
In January, thousands of pounds worth of damage was caused when a fire, thought to be deliberate, destroyed five vessels, boating equipment, a shed and fishing gear.
The community has also been involved in a long-running battle with landowner Pralhad Kolhe, a plastic surgeon who had sought to evict the fishermen’s fleet of traditional vessels from the part of the harbour he owns.
The Cove Fisherman’s Association had a four-year legal battle with Mr Kolhe, and lost their fight to dock their small fleet of traditional vessels at a particular part of Cove Harbour last year.
Last August the remaining vessels at the site were finally moved from Mr Kolhe’s land to a small corner of the harbour. The judgement said access to the pier for walkers and vehicles should be maintained.
After January’s fire, North East MSP Liam Kerr wrote to Rural Economy Secretary Fergus Ewing asking for support for the fishermen.
Mr Ewing replied say he was “very saddened” by the disaster but financial support would be “limited”.
Yesterday Mr Kerr raised Cove Harbour with Ms Sturgeon in the Scottish Parliament.
Mr Kerr told the first minister the Cove Harbour fishing community was “suffering” and faced “significant” legal costs.
The Tory MSP said the fishermen had requested a meeting with Mr Ewing “but to no avail”.
And he asked Ms Sturgeon to persuade Mr Ewing to meet the community and “not risk ignoring a community facing the loss of their livelihoods”.
The First Minister said: “Of course we want to do everything we possibly can to help any community experiencing difficulties.
“I am not aware beyond what the member has just said of the content of the correspondence to Fergus Ewing.
“But I am happy to give an undertaking to look into that and if Fergus Ewing thinks there is help the Scottish Government can offer – certainly to meet with those affected.”
A group of Aberdeen fishermen who lost a court case last year have been hit with a legal fee bill of around £45,000 – just days after their cherished vessels were destroyed in a malicious fire.
The Cove Fishermen’s Association was forced to move its boats at Cove Harbour last year after a court ruled in favour of landowner Pralhad Kolhe – who owns sections of the historic bay.
Mr Kolhe has been seeking to remove the small fleet of boats from his land, but in the months since the court’s decision, the fishermen have continued their activities by keeping their remaining vessels in a much smaller pocket of the harbour not under the landowner’s control, further away from the shoreline
managed to get out this morning and take some shot looks like i just missed the rain thank god this is one from today
thanks for looking
paul
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Managed to take another trip with the MFF group. Had a little longer lens with me this time to capture a bit more detail.
"Sesame Seeds on Buns" "Bread Recipe for Oven" "Bread Recipe" "Bread Pudding" "Bread Talk" "Fast Food Commissary" "Flour Price Increase" "How to make" "Menu Board" "Oven Fresh" "Sesame Seeds" "Stock of Buns" "Types of Bread" Bakery Beige Blonde Bread Breast Buns Commissary Display Dough eHow Flour Food Fresh History How Oven Pastry Phonenography Menu Presentation Professional RAW Seeds Sesame Skin Beautiful Amateur Babes Babe Belle Baking Cameltoe Cleavage Explore Interesting Flesh Feast Gorgeous Increase Pretty Price rommelbangit Topless Top50 Untitled What When Where Why Who 50+Faves "Rights Managed" "These are" "This is" Enormous Fetish "Bread Minecraft" Yummy "Yummy Bread" "Bread Dough" "Bread of Life" Garnish
Week 16
I managed to get out and capture some really beautiful clouds this week. Something about this one I really like.
Most of my friends and family have heard the news but I wanted to let my flcikr friends know that after months of poor health. I have found out I need another heart surgery. I don't have a date yet and it will probably be months away still but I wanted to let you guys know since several of you have emailed me over the past few months wondering why my posting had slowed down.
I am going to do my best to finish off last years 52 week projects and continue on this years 365
have a great weekend friends
It is a long, long time ago that we were last here. I did manage to take about a dozen shots that day.
You'll be glad to know I took more this time.
Sheppy is other-worldly. It is an island, but now there are two bridges onto it, the last being a dual carriageway, getting you to the delights of Sheerness and Queensborough doubly quickly.
Away from the western end, the island barely rises above the waters of the Thames and Swale that surround it, except at one place; Minster, where a monastery was built to look down on the fenland all around.
As we were nearby in Iwade, it was a ten minute drive to get to Minster, find our way up the hill and a vacant parking space. The museum in the gatehouse was open, but we pass by that to the church and mister beyond, with its wide and squat tower rising from the graveyard.
I pushed the door of the church, and it swung open, revealing a huge space; once two churches, but now full of details worthy of investigating.
This is the final tranche of shots from the visit.
I suppose my over-riding memory of the visit is that we were the only ones here. We had the double church to ourselves.
It won't be a decade until we visit again, but I am now seeing the end to the Kent church project, maybe enough for two or three years, maybe another year to redo some shots, but I think some churches I might never see inside, sadly.
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The large, almost square, medieval gatehouse to the west of the church tells the visitor that here is no ordinary parish church. For nearly a thousand years this was both Minster Abbey and Minster parish church. Today it is one building, but formerly the present south aisle formed the parish church, whilst the north aisle belonged to the nuns and was part of the monastic enclosure. The parish church side has a distinct nineteenth-century feel to it, the result of a much-needed restoration of 1879 by Ewan Christian to which Queen Victoria contributed. It contains some notable old monuments; especially interesting is that to Sir Robert de Shurland (d. 1310) which is an effigy of a knight under a wall recess. Between the nuns' aisle and the parish church is the Cheyne tomb, commemorating Sir Thomas Cheyne (d. 1559). This imposing marble and alabaster table tomb shows him wearing his Order of the Garter. The north aisle - or nuns' church - has altogether more atmosphere with substantial remains of the original church built by St Sexburga, widow of King Erconbert of Kent in AD 670. The arched heads of two Saxon windows survive in the southern wall, and the 'chancel' of the nuns' church has had its plaster removed to show the early rubble construction. It is separated from the rest of the church by a fine oak screen of about 1400. The whole church has a well-cared-for atmosphere and should be near the top of all visitors' lists.
www.kentchurches.info/church.asp?p=Minster+in+Sheppey
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Minster Abbey or, to give it its full title, The Abbey Church of the Blessed Virgin Mary and Saint Sexburgha, occupies the highest hilltop position on the otherwise flat Isle of Sheppey in Kent and has been a place of worship for over 1,400 years.
Founded as a nunnery by the widowed Queen Sexburgha in 664AD it was endowed with land given by her son Ercombert, King of Kent. With no stone on the island the building material was hewn at Boughton Monchelsea and brought down the River Medway and the Swale. Examples of early Saxon stone and Roman tiles, (from an earlier Roman outpost of the garrison at Reculver which earlier occupied this hilltop,) can also be found in the walls of the St Sexburgha chapel. Three still functioning wells from the priory are located by the Gatehouse, under a shop in Minster High Street and in the garden of a house in the adjacent Falcon Gardens.
The priory was badly damaged, but not destroyed, by Danish Vikings in the ninth century and was further damaged in the 11th century.
Following the Norman invasion of 1066, King William the Conqueror partly rebuilt the church and priory and allowed nuns from Newington to take up residence. It remained impoverished, though, until Archbishop de Corbeuil rebuilt it between 1123 and 1139. He is credited with the unusual arrangement of two adjacent 'churches' with the northern church for the nuns and the southern for the parishioners. It is thought curtains were originally hung to cover the arches which separate the two churches. The stone for the Norman part of the church was imported from Caen from the same quarry that provided the stone for Canterbury Cathedral
During the Dissolution of the Monasteries by Henry VIII the two adjacent churches led directly to the saving of the Abbey church. Because the two churches shared a common wall and were linked by arches in the wall, the Abbey church was spared the destruction wrought on the rest of the Abbey
Following the Dissolution, the abbey came into the ownership of Sir Thomas Cheyne (or Cheney) and he was first buried in the now lost chapel of Saint Katherine on this site in 1559. Most of the Abbey was eventually demolished except for the church and the adjacent Abbey Gatehouse. The gatehouse survived because it was used as a private residence and now contains an interesting local history museum.
Repairs to the church were neglected in the mid 19th century, but Rev William Bramston restored the church in 1881 and the Abbey is now a Grade 1 listed building which provides protection but also limits the modernisation work which can be done (e.g. the installation of a disabled toilet)
Internally there is no chancel arch in the southern aisle while the northern aisle retains both chancel arch and a carved timber screen. At the eastern end of the southern aisle there is a niche which has traces of a medieval wall painting of St. Nicholas.
The north-east Sexburgha chapel (also known as the Nuns' chapel) is separated from North aisle by a 12th century oak screen
The church has an interesting array of monuments displaying English armour from the 14th to the 16th centuries. The earliest is Baron Robert de Shurland [died 1327] who reclines on an altar tomb on the southside. At his feet is the head of his horse, Grey Dolphin. According to local legend, Sir Robert killed a monk and resolved to ask the King for a pardon. In 1326 he rode to where the King's ship was anchored, off the Isle of Sheppey, and rode out through the water to gain forgiveness from the King. Returning, he met a witch who said that de Shurland's horse, Grey Dolphin, which had borne him so bravely to the ship, would be the death of him. Sir Robert immediately killed the horse and cut off its head. A year later Sir Robert was walking along the shore when a shard of the horse's bone pierced his foot. Blood poisoning set in and Sir Robert died, killed by his horse as predicted by the witch.
In the arches between the two churches is the final resting place of Sir Thomas Cheyne KG [1485-1558]. As Sherriff of Kent from 1516 and Lord Warden of the Cinque Ports from 1536 until his death, (a position he held through the reigns of all five of the Tudor monarchs), he became one of the most powerful men in the South-East of England. For many years he served as Treasurer of the Household for Henry VIII and remarkably retained this post under Mary 1.
In the north-east corner of the northern aisle there is the effigy of a man dressed in high Gothic armour from the late 15th century. Some sources suggest it might be Sir Hugh de Badlesemere, a Yorkist soldier who fought in the War of the Roses. However others say that it might be George, 1st Duke of Clarence, as George was constable of nearby Queenborough Castle. Supposedly executed at the Tower of London by drowning in a Butt of Malmsley, there is evidence, though, that George was buried with his wife in Tewksbury. The effigy is of very high quality and clearly reflects wealth, but all the shields and heraldry have been hacked off, which might suggest Tudor vandalism of a supposed Yorkist tomb. This could support the 'Clarence' theory, but the effigy also rests with his feet on a curly haired ram and not a bull - the bull badge being traditionally associated with George, Duke of Clarence.
Another effigy of early 15th century date was dug up in the churchyard in 1833 and this lies against the north wall. Some sources suggest this is General Geronimo who appears in the Register as being buried in December 1591. He was captured in a Spanish galleon by Sir Edward Hoby in 1588 and held hostage in Queenborough Castle. The ransom was never paid and he died in captivity. He clasps a small egg shaped image in his hands which is said to represent his soul
Other rough hewn tombs recovered at this time are thought to be tombs of abbesses of the Abbey.
www.minsterabbey.org.uk/3.html
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MINSTER
IS the principal parish in the Island of Shepey. It lies on high ground near the middle of the north side of it.
The parish takes its name from the monastery founded very early within it, Minstre in the Saxon language signifying a monastery or religious house.
The manor of Newington claims over a small part of this parish, but the paramount manor over the whole of it is that of Milton.
THE PARISH of Minster is by far the largest of any in the island. The village is situated on high ground near the middle of it, with the church, and ruins of the monastery close on the northern side of it; of the latter there is little more than the gate-house remaining.
THE VILLE of Sheerness is situated at the western bounds, as well of this parish as of the whole island, a further account of which will be given hereafter. It was formerly accounted as part of this parish, but it has long since been made a ville of itself, and as to its civil jurisdiction, entirely separate from this parish.
The cliffs on the northern side of this island, are likewise the northern boundaries of this parish; Queenborough and Sheerness bound it towards the west, and the Swale and the island of Elmley southward.
In June 1756, a monstrous fish, thought to be a young whale, was driven on shore at this place. It measured thirty-six feet and upwards in length, twentytwo feet in circumserence, and eight feet from the eyes to the tip of the nose. It was supposed to yield twenty hogsheads of oil.
King Edward III. in his 17th year, granted a fair to be held here on Palm Monday, which is still continued for toys and such like merchandize.
SEXBURGA, one of the daughters of Annas, king of East Anglia, and widow of Ercombert, king of Kent, between the years 664 and 673, having obtained lands in this parish of her son king Egbert, founded A MONASTERY here, which she finished and got well endowed for seventy-seven nuns, whom she placed in it, king Egbert himself adding several lands to it, and she became herself the first abbess. Soon after which, about the year 675, she resigned her government of it to her daughter Ermenilda, who became the second abbess, and then retired, in the year 699, to the Isle of Ely, to the monastery there, over which her sister Etheldred presided. (fn. 1)
During the times of the Danish invasions, the religious of this monastery were subject to continual instances of cruelty and oppression, and at last their house was in a great measure destroyed by them, and the nuns dispersed. In which situation it seems nearly to have remained till the reign of the Conqueror, who, on the prioress of the nunnery of Newington near Sittingborne having been strangled in her bed, consiscated their possessions, and removed the few remaining nuns to this ruinated monastery, which continued but in a very mean condition till the year 1130, when it was reedified and replenished with Benedictine nuns, by archbishop Corboil, and dedicated to St. Mary and St. Sexburg.
In the 8th year of king Richard II. anno 1384, the temporalities of this monastery were valued at 66 l. 8s. and the spiritualities at 73l. 6s. 8d. Total 139l. 14s. 8d.
¶In the 27th year of king Henry VIII. an act having passed for the suppression of all religious houses, whose revenues did not amount to the clear yearly value of two hundred pounds, this monastery, whose revenues amounted to no more than 129l. 7s. 10½d. annual re venue, or 122l. 14s. 6d. clear yearly income, being then ten pounds less than they were near two hundred years before, was surrendered up to the king, at which time it was in so indigent a state, that there were but a prioress and ten nuns in it. To the former, Alicia Crane, the king granted a pension of fourteen pounds for her life, towards her proper support and maintenance.
MINSTER is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church, which is dedicated to St. Mary and St. Sexburg, (as was the monastery) is supposed by some to have been the very church of it, but by others, that it only adjoined to it; at present it consists of two isles and two chancels. The steeple is at the west end, being a large square tower, with a turret at the top, in which there is a clock, and a ring of five bells. It was formerly higher than it is at present, as appears by the remains. There was formerly a building adjoining to the east end of the north chancel, as appears by a doorcase and some ornaments on the outside of it. In the north chancel, on the south side, is the tomb of Sir Thomas Cheney, knight of the garter, &c. who was buried with great state, in a chapel which had been the conventual church, adjoining to the north east part of this parish; but his son Henry, lord Cheney, having in 1581, anno 24 Elizabeth, obtained a licence to remove the coffins and bones of his father and ancestors from thence, he having sold the materials of the chapel to Sir Humphry Gilbert, and placed them in this parish church, the coffin of his father was, among others removed, and deposited in this chancel. On the north side, under an arch in the wall, on a grey marble, lies the figure of a man, habited in armour. In the south, or high chancel, against the south wall, is an antient tomb, with the effigies of a man lying at length crosslegged, and in armour; on his right side is the figure of a horse's head, carved alike in alabaster, and fixed to the tomb, concerning which many idle reports are current. (fn. 10) On a stone in the middle of the chancel, are the figures in brass of a man and woman; his in armour, cross-legged, with large spurs, his sword by his side, and this coat of arms, Ermine, a pale, engrailed, (perhaps it might have been originally a cross, the rest of it having been rubbed out); on her mantle, Three bars, wavy; under his feet a lion, under her's a talbot; the inscription underneath is gone, except the word Hic at the beginning of it. At the upper end of the north isle is a small stone, seemingly very antient, with a cross bottony on it.
In the year 1489, there was a chapel, dedicated to St. John Baptist, Situated within the cemetery of Minster, in Shepey.
The church of Minster seems to have been part of the endowment of the monastery at the first foundation of it.
¶This church was not many years afterwards appropriated to it, (fn. 11) the cure of it being esteemed as a donative, in which state it continued at the time of the dissolution of the monastery, when it came, together with the rest of the possessions of it, into the king's hands, where it remained till the king granted the rectory of Minster, with its rights, members, and appurtenances, and the advowson of the church there, to Sir Thomas Cheney, knight of the garter, &c. to hold in capite by knight's service, whose son Henry, lord Cheney, of Tuddington, alienated this rectory, with the advowson, to Robert Levesey, esq. in whose descendants it continued sometime afterwards, till at length it was sold to Gore, and William Gore, esq. of Boxley, died possessed of the rectory impropriate, with the advowson, in 1768. He died s.p. and by his will devised it to his relation Robert Mitchell, esq. who dying likewise. s.p. in 1779, gave his estates to his three nephews, Robert, Christopher, and Thomas, sons of his brother Thomas, the eldest of whom, Robert Mitchell, esq. became afterwards the sole proprietor of them.
The parsonage at present consists of a house, barns, &c. and one hundred and eighty-eight acres of arable, meadow, and pasture belonging to it, together with all the great and small tithes of the parish, of all kinds whatsoever.
The ecclesiastical jurisdiction of this parish extends over the ville of Sheerness, the populousness of which adds greatly to the burials in it, insomuch that in some years of late, they have amounted to between two and three hundred.
The church of Queenborough was formerly esteemed as a chapel to this church, but it has long since been independent of it. The cure of it is still esteemed as a donative, the yearly stipend of the curate being 16l. 13s. 4d. In 1578 the communicants were three hundred and eight.
In 1640 the stipend of the curate was 16l. 13s. 4d. Communicants two hundred and sixty-five. It is not in charge in the king's books.
Roger, abbot of St. Augustine's, in 1188 let to Agnes, prioress, and the convent of St. Sexburg, certain tithes within this parish, to hold in perpetual ferme at fourteen shillings yearly rent, &c. These tithes were those of Westlande; being those of Sir Adam de Shurlande, and of Adam Rusin (fn. 12)
Finally managed to get a closeup of a Scorpion Fly, this is a female and it looks like she may be gravid (probably why I could get close enough), these flies feed on dead insects and have been known to steal from Spiders webs, really bizarre looking critters :)
IMF Managing Director Christine Lagarde is having a panel discussion on “European Economic Integration: Taking Stock of Challenges and Opportunities” at Vilnius University, July 18, 2013.
Photo by Vygintas Skaraitis (BFL)
We managed to get to the Lake District for the Easter weekend. We were open at work on Good Friday so I had to be in at work for a couple of hours and didn’t set off until 9.00am. We had a quick café stop and then jumped on the M62. It took us until 2.00pm to get to Langdale. We crawled up the M61 and M6, reminding me why we used to avoid Bank Holiday traffic. Although staying in Ambleside we drove to Langdale to get a couple of hours walking in. Langdale was packed but we found a place to park at the foot of the pass up to Blea Tarn. We headed up Pike of Blisco – against a steady stream of walkers descending at this time in the afternoon. I didn’t bother taking photos to any great extent, it wasn’t great light, windy and the appalling weekend forecast had depressed me – this was supposed to be the best day and it was nearly over. After a nice settled spell, possibly the first in the north of England this winter (now officially British Summertime) heavy rain and gales were coming our way apparently.
Each morning I studied the maps trying to second guess the light, wind and crowds. On Saturday it was initially dry, much to our surprise, we parked in Coniston and set off up Walna Scar Road. It’s a long steep drag to the top of the pass, the cloud was down and thick, the wind was getting extreme as we got higher – and we didn’t see a soul! We were heading over Brown Pike onto Dow Crag, we weren’t likely to get lost on a ridge. By now it was raining hard and the wind was making staying upright difficult. We slid off the rocky summit of Dow Crag on our backsides, the safest way. We dropped on to Goats Hause, the wind was screaming through and but I guessed there would be some shelter if we headed for the Old Man of Coniston. We met the first person of the day here, arriving at the summit just before him. There was still winter snow on north facing slopes but the wind wasn’t as bad as Dow Crag. It was grim, 30 metre visibility and there was very little point in staying on the tops as originally planned. Jayne was up for heading straight down the tourist track through the quarries. We have only ever ascended it before but we set off down at a trot, passing some fell runners along the way. There was a steady stream of Easter trippers heading up and judging by the questions we were asked on the way down they had little idea of what they were heading in to or how far they were from the summit, and all in appalling conditions. Lower down it was quite calm and many had little idea of the severity of the conditions on the tops. The countryside was rapidly waterlogging again after the belated dry spell.
Sunday brought more very heavy rain and gales on the tops. What looked like snow had accumulated on high ground overnight. It was actually several inches of hail and was horrible underfoot, like small wet marbles but trapping a lot of water on the lower slopes below the freezing line. We parked at Patterdale and walked across slopes that the recent floods had wreaked havoc on, with a lot of remedial work to be done this summer. The plan was to get to Boardale Hause and decide whether to go high – over Place Fell – or head in to Boardale and stay low by doing a circuit of Place Fell. It was raining hard and there was a howling gale but it was behind us, the cloud had lifted a bit so we went high. The summit plateau was a nightmare, covered in slippy, wet, slushy hail with the wind nearly blowing us over. We went north straight over the top and down the other side, the top was in thick cloud but the lower slopes were clear and we legged it off the fell, descending by Scalehow Force waterfall, which was in fine form with the heavy rain. We followed the path above the shores of Ullswater back to Patterdale. Another wet walk.
Monday saw us parked a mile or so south of yesterday’s parking place in Patterdale at Bridgend. With the weather being bad people weren’t out early, even on a bank holiday, so we didn’t have a problem parking. There wasn’t a plan, we were just making it up. Today looked promising, Storm Katie was battering the rest of the country but missed the north for a change. The tops were wintry, again it was hail accumulations not snow, on the high ground it was on very old lying snow and very difficult on steep descents. We decided to take the steady slopes of Hartsop above How to Hart Crag, on to Fairfield and then hopefully over Cofa Pike on to St Sunday Crag, Birks and finally Arnison Crag. This was just less than ten miles and it turned out to be a very tough five hours, exhausting, particularly after the three previous days. A large coastguard helicopter circled us repeatedly and finally landed on the path we were following to Hart Crag, we assumed it was on an exercise. The ground was frozen above 2500 feet and walking was easier as the snow/hail was load bearing and we could yomp on a bit. It was like midwinter with frequent squally whiteouts blasting in. The wind would pick up first lifting the frozen hail in a frozen spindrift that bounced along several feet high blasting our faces, this was followed by, what was more like frozen drizzle than snow, fine, but hard, we could feel it through our clothes it came at us that hard. I decided that we would head straight over Cofa Pike to St Sunday. A mistake with hindsight. The lake of footprints was the first bad sign but we were committed. We lived to tell the tale but Jayne had a bit of a near miss. The crag down to Cofa is steep and it was covered in hail on old snow, the layer of hail was shearing away from the underlying snow and we had to go down on out backsides, keeping a tight grip as we went. At one point Jayne failed to arrest a slide that was above a steep and deep drop. I had hold of her from a position in front of her and to her left and I was fairly well anchored so I felt in control and was sure of the outcome. From her point of view it was frightening and it subdued her for the rest of the walk. She had also ripped the outer lining of her Paramo waterproof trousers as well. Considering that we were going downhill it was hard going, every step a slip or a slide, with the underlying grass saturated and a thin layer of hail it was an unpleasant walk off the fell. At the end of Arnison Crag we took a pathless shortcut – that we swore we would never use again years ago – to save around twenty minutes of walking. This was the only day I had the camera out all day and had to cover it with a dryliner bag whenever a heavy shower came in. I also broke the lens hood. We drove to Keswick for afternoon coffee and toast at Brysons. The new Paramo store across the square was the next stop for new trousers. These Paramos had cost £85 14 years ago and they have just brought a new model out. We had two choices, The old model was reduced to…..£85 – after 14 years we could pay the same price or we could return the old trousers - cleaned – and get a £50 voucher towards the new model, which are £135, or £85 with the voucher. The old ones were ¾ of a mile away in the car – unwashed – so we bought the old model. Needless to say we had a couple of drinks in the Golden Rule in Ambleside every night before our tea.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Managing Director Kristalina Georgieva looks on beside Her Majesty Queen Máxima of the Netherlands, as she chats with Governor of Bank Indonesia Perry Warjiyo, following the Central bank digital currencies Financial Inclusion Seminar during the 2022 Annual Meetings at the International Monetary Fund.
IMF Photo/Tom Brenner
14 October 2022
Washington, DC, United States
Photo ref: TB2214101434.jpg
You did not manage to visit the exhibition “My Tel Aviv” yet which includes my work? No problem: Now you have the chance to get to know even more!
At the 9th of June, I will be present at the exhibition from 10 am until 2 pm. I am already very excited looking forward answering all of your questions and explaining the creative process of my work as well as my intentions and whatever else will be of interest. :)
The exhibition is shown at the Prima Gallery (Prima Tel Aviv Hotel- HaYarkon St. 105).
World Bank President, Jim Yong Kim tours Dignity garment factory with Managing Director of Dignity, Salma Salifu in Accra, Ghana on October 16, 2015. Photo © Dominic Chavez/World Bank
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Managed to get 2 hours of integration time on NGC 6888, the crescent Nebula.
Processed in Siril, SAS & Affinity Photo 2.
Managed to get a bit more ballasting completed last weekend, so just had a bit of fun with the camera!
International Monetary Fund Managing Director Christine Lagarde (C) holds a joint press conference after speaking at the "CHALLENGES FOR SECURING GROWTH & SHARED PROSPERITY IN LATIN AMERICA" conference with Chilean Minister of Finance of Chile Alberto Arenas de Mesa (L) and Governor of the Chilean Central Bank of Rodrigo Vergara (R) at the Sheraton Hotel December 5, 2014 in Santiago, Chile. IMF Staff Photograph/Stephen Jaffe
Managing Director Kristalina Georgieva meets with Finance Minister of Somalia Dr. Abdirahman Beileh at the International Monetary Fund in Washington, D.C. on February 28, 2020. IMF Photo/Cory Hancock
We managed to get up to The Lake District for a few days at Easter. We got away from work on Good Friday afternoon and spent three hours covering 110 miles, the M61 and M6 were very slow or stopped. As ever once there we soon left the hassle behind. We were using a B&B that we used very regularly for ten years until the owner passed away quite suddenly. Now under new ownership it has been totally gutted and refurbished, it’s very nice but twice as expensive.
We were out in good time on Saturday, it was dull and cool but very calm. I’d deliberated for ages as to where to walk, wanting to avoid the worst of the Easter crowds. It was the busiest I’d seen the Lakes for a long time amd the North Lakes in particular had stunning weather, the South Lakes had dense fog in places until the afternoon and was much cooler – but not cold. Parking in Patterdale we headed up Arnison Crag, on to Birks aiming for St Sunday Crag. This was where it started to go wrong. I got a sudden pain in my right ankle, near a previous serious ankle injury, it’s not unusual to get a bit of pain in this ankle but it got worse. My ankle felt like it was in a vice. On the plus side the cloud which was very low initially was clearing higher at the same speed that we were climbing. We scrambled over Cofa Pike through some snow on to Fairfield and for a change the summit was clear with glorious views. I had to undo my gaiter and slacken my boot, my ankle was swelling and bruising. I took paracetemol and carried on – I didn’t have much choice really. We walked to Hart Crag out to Dove Crag, back to Hart Crag as we wanted to head down over Hartsop above How. We stopped for a quick sandwich and pot of lemon tea before heading down the rocky path. By now I was suffering but still able to walk fairly fast. The yomp back along the road to Patterdale was tough. We covered 11.5 miles in around five hours, which was OK for a first walk in the mountains for a while. We drove to Keswick wanting to get to Brysons tearooms for cake and coffee. Keswick was packed and sunny and we had to walk in half a mile, that was painful, my ankle was agony until I got it loosened up. Toasted Plum Bread, apple pie and ice cream and coffee made up for the grief.
On Sunday I knew I couldn’t walk much. I was applying Ibuprofen Gel regularly but it was going to be a car and camera day. There was dense fog when we set off so I decided we needed to be somewhere attractive when it started to clear, I just didn’t know when that was going to be. We drove into Langdale and the fog broke to reveal Blue sky and the top of the Langdale Pikes, it was fantastic. I immediately thought of Blea Tarn and drove up the pass out of Langdale. I expected to find, as is usual, tripods in a row, with photographers clicking away. There wasn’t a soul, it was so calm and peaceful – and beautiful – I couldn’t believe my luck. I limped as fast as I could to the Tarn, unfortunately an overnight camper, who I chatted with about the beauty, reflections and the camera I was carrying, did her best to encourage her dog into the water and she got in to get washed. It was so calm that the ripples would cross the entire tarn and spoil the photos. I shot as quick as I could, moving away from her all the time. I think I had around 15 minutes at the most before a breeze – that I couldn’t feel – started to ripple the water. The reflections disappeared and it was over. Without the bad ankle I would have missed this tranquillity as we would have been toiling up out first climb of the day. The fog stayed put in the South Lakes but we headed north over Dunmail Raise to blue sky and 17 degrees.
On Monday after 36 hours of Ibuprofen I felt that my ankle would stand a six or seven miler – but where? We had very thick fog in Ambleside so again I drove over Dunmail Raise and again it was fantastic. I could see the chance of some good photos around Thirlmere but I had to get waterside at a point where the view wasn’t obstructed with saplings and bushes growing out of the water. This was easier said than done, it took three attempts to get a decent location. I had reflections, hanging mist, water and mountains – and wet feet again, fortunately I had my walking boots and socks to put on for the walk ahead. After my photo chase we parked at Steel End and headed up the steep nose of Steel Fell. It’s a tough climb but the view over Thirlmere was great. We could see the wall of fog to the south and I was looking forward to getting to the top, hoping that we would be able to see over it with mountains poking out of a sea of white. This was exactly as it was, the Lion and the Lamb on Helm Crag looked like an island in the sea of mist. We walked along the ridge to Calf Crag with clear views to the north and a sea on mist to the south, it looked like the right choice again. We were going to head down Wythburn back to Thirlmere. Wyth Burn runs through a secluded hanging valley through an area called The Bog. I’ve walked down here a few times and at first glance it looks dry – they didn’t name it The Bog for nothing – it is extremely wet. It doesn’t matter how high you walk to avoid it – you can’t! We were wet above the gaiters by the time we got back and it was tough on the ankle. Brysons here we come, another beautiful hot day in Keswick but back to work tomorrow.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Oesterreichische Nationalbank
Logo of the Austrian National Bank
Headquarters Vienna, Austria
Central Bank of Austria
Currency€
To ISO 4217 EUR
website
Previous Austro- Hungarian Bank
List of Central Banks
Oesterreichische Nationalbank, at Otto-Wagner -Platz No. 3, Vienna
The Austrian National Bank (OeNB), Austria's central bank as an integral part of the European System of Central Banks (ESCB) and the Eurosystem. It is instrumental in the design of the economic development in Austria and in the euro area. Legally, the OeNB is a public limited company.. However, it is also subject to further enshrined in the National Bank Act regulations resulting from its separate position as a central bank. In the framework of the Eurosystem, the OeNB contributes to a stability-oriented monetary policy. At the national level, it cares about the preservation of financial stability and the money supply and manage foreign exchange reserves to hedge against the euro in times of crisis. The guideline values in terms of the tasks of the Austrian National Bank are "security, stability and trust".
Contents
1 History
1.1 1816 to 1818
1.2 1818 to 1878
1.3 1878 to 1922
1.4 1922 to 1938
1.5 1938 to 1945
1.6 1945 to 1998
1.7 From 1999
2 The OeNB as a modern central bank
3 Legal form and organs
3.1 Legal framework
3.2 organs
3.2.1 General
3.2.2 General
3.2.3 Board of Directors
4 Tasks
4.1 Monetary policy strategies and monetary policy decision-making process
4.1.1 Economic analysis
4.1.2 Production of statistical information
4.1.3 Contribute to international organizations
4.2 Implementation of monetary policy
4.2.1 use of monetary policy instruments
4.2.2 Reserve Management
4.2.3 Money Supply
4.3 Communication of monetary policy
4.4 ensure financial stability
4.4.1 Financial Stability
4.4.2 Payment System Stability and payments
5 The OeNB in the European System of National Banks
6 President / Governors
7 See also
8 Literature
9 links
10 Notes and references
History
1816-1818
As long as 50 years before the founding of the National Bank the Habsburgs carried out first experiments with securities in the form of paper money. Finally, in the 18th Century the issue of banknotes transferred to a state independent institution, while the issue of paper money called "Banco notes," founded in 1705 by the "Vienna City Bank" took place in 1762.
In wartime governance took back control of the money issue, so there was an inflation of Banco-Zettel 1796-1810. The state ordered the forced acceptance of paper money in private transport, which led to a fast-growing discount on bills in the market. 1799 was therefore one for 100 guilders paper money only 92 guilders in silver coins, and at the end of 1810 the value of the paper florin had fallen to 15 % of the nominal value of the Banco-Zettel. Later, the Habsburgs declared a devaluation of the Banco-Zettel in the ratio of 5:1. This act was considered by the business community as a sovereign default, which the paper money experienced a rapid devaluation.
At the end of the Napoleonic wars the Habsburg multinational state ( → Habsburg Monarchy) faced a new challenge: the restoration of a European balance. Church, the nobility, the army and the bureaucracy as elements in the Ancien Régime were not sufficient to solve this problem, a well -founded economic situation was needed. Moreover, one could not ignore readily the laws of supply and demand.
In this regard, were the first June 1816 by Emperor Francis I two patents issued (later to distinguish the "main patent" or "bank patent"), the "privileged Austrian National Bank", conceived as a public company, had to constitute itself as soon a possible, propose the emperor three of its directors for selection of the governor and take up their activity provisionally on 1 July 1816.
The National Bank had henceforth a monopoly on the issuance of paper money, which led to a slowdown in the Austrian monetary system and an increase in the value of paper money. The economy was again a solid source of money keeping constant the value of money regardless of the spending plans of the State. The equity of the Bank justified this by share issues.
Initially comprised the activities of the bank - under temporary management - the redemption of paper money and the issuance of shares. The full effectiveness attained the National Bank until after the issue of 1,000 shares and the associated possibility of shareholders to set the management themselves.
1818-1878
On 15 July 1817 recieved the National Bank as the "first Bankprivilegium" the exclusive right to unrestricted issue of banknotes and in this context a special position in terms of Rediskontgeschäfts (rediscount business). Beginning of 1818 the definitive bank management was ready. Part of it were among leading figures of Viennese society, including the banker Johann Heinrich von Geymüller and Bernard of Eskeles. From 1830 to 1837 the Office of the Governor was held by Adrian Nicholas Baron Barbier.
In the countries of the Habsburg Monarchy, which were characterized in large part by an agricultural oriented activity pattern, some regions showed a lively commercial-industrial growth. The goal now was to create a system of economic exchange between these areas. Successively established the National Bank branch network and thus guaranteed a uniform money and credit supply. From its headquarters in Vienna this network extended over early industrial areas and commercial centers in Eastern and Central Europe to the northern Mediterranean.
Trade bills and coins were preferred assets of the National Bank, less the supply of money to the state. With the exchange transactions, the National Bank supported the economic growth of the monarchy and secured at the same time the supply of silver coins in the event that the need for these increases in exchange for bank notes, contrary to expectations. 1818 was the National Bank, however, by increasing public debt, due to high spending in times of crisis, not spared to make an increase in the government debt positions on the asset side of its balance sheet.
The patent provisions of the founding of the National Bank not sufficiently secured against the autonomy of governance. At the center of the struggle for independence, this was the question of the extent to which the issue of banknotes must be made on the basis of government bonds. In 1841, a renewal of Bankprivilegiums got a weakening of the independence by pushing back the influence of the shareholders in favor of the state administration. During the revolution of 1848/49 followers of constitutional goals received great support from senior figures in the National Bank. For about a hundred years, the Austrian branch of the Rothschild bank (from which from 1855, the "Royal Privileged Austrian Credit-Institute for Commerce and Industry", the later Creditanstalt, was born) was playing a leading role in the banking center of Vienna. Salomon Mayer von Rothschild was involved during the pre-March in all major transactions of the National Bank for the rehabilitation of the state budget.
Special focus the National Bank was putting on the development of the premium that was payable at the exchange of banknotes into silver money in business dealings. The increase, which corresponded to a depreciation of the notes issued by the Bank should be prevented. From an overall state perspective, the increase of the silver premium means a deterioration in terms of the exchange ratio towards foreign countries, influencing the price competitiveness of the Austrian foreign trade adversely. The stabilization of the premium were set some limits. Although the height of the emission activitiy was depending on the Bank, but also the price of silver and the potential effects of increased government debt materially affected the silver premium. Especially the 1848 revolution and conflicts in the following years caused an increasement of the silver premium.
Mid-century, the private banking and wholesale houses were no longer able to cope with the rapidly growing financial intermediation of the Habsburg monarchy. New forms of capital formation were required. From an initiative of the House of Rothschild, the first by the government approved and private joint-stock bank was created. This formation was followed in 1863 and 1864 by two other joint-stock banks, whose major shareholders included important personalities of the aristocracy, who possessed large liquid funds. Overall, grew with these banks the money creation potential of the "financial center of Vienna".
The central bank faced another difficult task: with its limited resources it had to secure sufficient liquidity on the one hand and on the other hand prevent the inflationary expansion of the money supply. Through close contacts with the shareholders of Vienna was a financial center (informal) ballot, especially in times of crisis, easily dealt out. In contrast, it gave differences of opinion in the Fed Board, which required enforcement of decisions.
In 1861, Friedrich Schey Koromla became director of the National Bank. On 27 December 1862 experienced the Bankprivilegium another innovation. The independence of the National Bank of the State was restored and anchored. Furthermore, was introduced the direct allocation of banknotes in circulation by the system of "Peel'schen Bank Act", which states that the fixed budget of 200 million guilders exceeding circulation of banknotes must be covered by silver coins. In 1866, when the German war ended in defeat for Austria, the compliance of the system was no longer met. The state felt itself forced to pay compensation for breach of privilege. This balance was supported by a law of 1872, after the National Bank may issue notes up to a maximum of 200 million guilders and each additional payment must be fully backed by gold or silver.
1873 the economic boom of the Habsburg monarchy was represented in a long-lasting rise in the share price. A now to be expecting break could by the behavior of the Vienna Stock not be intercepted, so it came to the "Great Crash of 1873". The in 1872 fixed restrictions of the circulation of notes for a short time have been suspended. Contrary to expectations, the money supply in crisis peak but only outgrew by nearly 1% the prescribed limit in the bank acts. The banks and the industrial and commercial companies survived the crash without major losses, although the share prices significantly lay below the initial level.
The years with high growth were followed by a period of stagnation.
1878-1922
As part of the compensation negotiations between Austria and Hungary in 1867, the National Bank was able to exercise fully their Privilegialrechte, the Kingdom of Hungary but now had the certified right, every ten years exercisable, to found an own central bank (bank note). As resulted from the first 10 -year period that furthermore none of the two parts of the monarchy wanted to build an independent money-issuing bank (Zettelbank), was built on 28 June 1878, initially to 31 December 1887 limited, an Austro-Hungarian Bank, and equipped with the Fed privilege. The first privilege of the new bank was a compromise in which on the one hand, regulations on liability for national debts as well as regulations limiting the influence of the government on banking businesses were included. 1878 Gustav Leonhardt was Secretary of the Bank.
The General Assembly and the General Council formed the unit of the bank management. Two directorates and major institutions - in Vienna and Budapest - represented the dual nature of the bank. 1892-1900 followed a long discussion finally the currency conversion from guilders (silver currency) to the crown (gold standard) with "Gold Crown" said coins.
Since the new banknotes were very popular in the public, now many gold coins piled up in the vaults of the Austro-Hungarian Bank. This period was characterized by a balanced combination of price growth and damping, the "per capita national product" grew while prices remained mostly stable. Against this background, it was easy for the Fed to encourage a new wave of industrialization.
With a third privilege in 1899 conditions were established under which the bank could be put into the financial services of the two countries, on the other hand there have been important innovations that paved a good exchange policy. By 1914, the exchange ratio of the Austro-Hungarian currency was unchanged with only minor fluctuations. In contrast, was the by conflicts marked political development.
The expansive foreign policy quickly led to high costs from which had to be shouldered by the central bank a significant part. The stability of the currency was in danger. Shortly after the beginning of World War I in 1914, laid down the Military Command to indemnify any seized property with double the price. There was an increasing scarcity of goods, connected with an ongoing expansion of the money supply and finally the increase in the price level on the 16-fold.
The resulting cost of the war of the Dual Monarchy were covered to 40% on central bank loans and 60% through war bonds. Over the duration of the war, the power force built up in recent decades has been frozen at the end of the conflict in 1918, the real income of the workers had fallen to one-fifth of the last year of peace.
With the end of the war the end for the old order had come, too. The decay of Cisleithania and Transleithania caused in several successor states, despite the efforts of the central bank to maintain the order, a currency separation (see Crown Currency in the decay of the monarchy, successor states). First, a separate "Austrian management" of the bank was introduced. It was encouraged to shoulder the shortcomings of the state budget of the Republic of Austria founded in 1918.
The new South Slav state began in January 1919 stamping its crown banknotes. The newly founded Czechoslovak Republic retained the crown currency (to date), but their printed banknotes in circulation as of February 1919 with indications that now these ar Czechoslovak crowns. (The country could an inflation as experienced by Austria avoide.) In March 1919, German Austria began to stamp its crown banknotes.
The Treaty of Saint-Germain-en-Laye of 10 September 1919, by Austria on 25 October 1919 ratified and which on 16 July 1920 came into force, determined the cancellation and replacement of all crown banknotes of all successor states of Austria-Hungary as well as the complete liquidation of the Austro-Hungarian Bank under the supervision of the war winners. The last meetings of the Bank took place mid 1921 and at the end of 1922.
After a period of overvaluation of the crown the dollar rate rose from 1919 again. 1921, had to be paid over 5,000 Austrian crowns per dollar. In addition to the significant drop in the external value existed in Austria rising inflation. End of 1922 was ultimately a rehabilitation program with foreign assistance - the "Geneva Protocol" - passed which slowed down the inflation.
1922-1938
With Federal Law of 24 July 1922 the Minister of Finance was commissioned to build a central bank, which had to take over the entire note circulation plus current liabilities of the Austrian management of the Austro-Hungarian Bank. With Federal Law of 14 November 1922, certain provisions of the law were amended and promulgated the statutes of the Austrian National Bank. By order of the Federal Government Seipel I 29 December 1922, the Board of the Austrian Austro-Hungarian Bank issued authorization for the central bank union activity with 1 January 1923 have been declared extinct and was made known the commencement of operations of the Oesterreichische Nationalbank this day.
The statutes of the Austrian National Bank (OeNB) secured the independence from the state, the independence of the Bank under exclusion of external influences and the corresponding equity. First, the stabilization of the Austrian currency was at the forefront. With the Schilling Act of 20 December 1924 was the schilling currency (First Republic) with 1 Introduced in March 1925, it replaced the crown currency. For 10,000 crowns now you got a shilling.
As an important personality in terms of the order of the state budget, Dr. Victor Kienböck has to be mentioned. He was in the time from 1922 to 1924 and from 1926 to 1929 finance minister of the First Republic and from 1932 to 1938 President of the Austrian National Bank. Through his work remained the Austrian Schilling, also beyound the global economy crisis, stable. Under this condition, the Fed was able to cope with the large number of bank failures of the past.
1938-1945
According to the on 13th March issued Anschlussgesetz (annexation law) , the Reichsmark with order of the Fuehrer and Chancellor of 17 was March 1938 introduced in the country Austria and determines the course: A Reichsmark is equal to one shilling fifty pence. On the same day, the Chancellor ordered that the management of the to be liquidated National Bank was transferred to the Reichsbank.
With regulation of three ministers of the German Reich of 23 April 1938, the National Bank was established as a property of the Reichsbank and its banknotes the quality as legal tender by 25 April 1938 withdrawn; public funds had Schilling banknotes until 15th of may in 1938 to accept. All the gold and foreign exchange reserves were transferred to Berlin.
The Second World War weakened the Austrian economy to a great extent, the production force after the war corresponded to only 40% of that of 1937 (see also air raids on Austria). To finance the war, the Reichsbank brought to a high degree banknotes in circulation, which only a great victory of the kingdom (Reich) actual values would have been opposable. Since prices were strictly regulated, inflation virtually could be "banned" during the war.
1945-1998
In occupied postwar Austria about 10 billion shillings by Allied military occupying powers were initially printed, which contributed to significant price increases.
With the re-establishment of the Republic of Austria by the Austrian declaration of independence of 27 April 1945, it came to the resumption of activities of the Oesterreichische Nationalbank. By the "Fed Transition Act" of July 1945 preliminary legal regulations for the operations of the Bank have been established. The restoration of the Austrian currency was their first big job. The goal was the summary of all currencies, which at the time were in circulation, and their secondment to a new Austrian currency. The "Schilling Act" of November 1945, the basis for the re-introduction of the Schilling (Second Republic) as legal tender in Austria. The next step was to reduce excess liquidity to make necessary funds for new business investment available and to make the external value of the shilling for the development of the economy competitive. First, however, less changed the inflationary situation and also the shilling was still significantly undervalued in relation to other currencies.
The "Currency Protection Act" of 1947 brought a significant change in the monetary overhang. Some deposits have been deleted without replacement, others converted into claims against the Federal Treasury. The following exchange operations also significantly reduced the amount of cash: banknotes from 1945 were canceled and exchanged for new schilling notes in the ratio 1:3. Only 150 shillings per person could go 1-1.
To control inflation, the social partners came to the foreground. The associations of employers and employees set in 1947 prices for supplies, wages were also raised. This was the first of the five "wage-price agreements" of the social partners. In 1952, inflation was held back by limiting the use of monetary policy instruments by the National Bank. Also, the external sector slowly relaxed after the end of the Korean War.
In 1955, the Austrian National Bank was re-established by the new National Bank Act as a corporation and the by the National Bank Transition of Authorities Act (Nationalbank-Überleitungsgesetz) established provisional arragement abolished. The National Bank Act stipulated that each half of the capital should be situated at the federal government and private shareholders. In addition to the independence of bank loans of the state, the new National Bank Act also contained an order that the central bank must watch within their monetary and credit policies on the economic policies of the federal government. From now on also included within the instruments of the National Bank were the areas open market and minimum reserve policy.
The Austrian economy increasingly stabilized, through good fiscal and monetary policy a high growth could be attained, with low inflation and long-term maintenance of external equilibrium.
1960, Austria joined the European Free Trade Association and participated in the European integration.
In the sixties came the international monetary system based on gold-dollar convertibility into currency fluctuations and political reforms were necessary. First, the loosening of exchange rate adjustments between several states was an option. However, U.S. balance of payments problems brought with it restrictions on capital movements, and then the Euro-Dollar market was born. In 1971, the convertibility of the U.S. dollar was lifted.
1975 interrupted a recession increasing growth time. International unbalanced ayments caused very extensive foreign exchange movements, whereby the intervention force of Austrian monetary policy has been strongly challenged. Their task now was to control the effect of foreign exchange on domestic economic activities to stabilize the shilling in the context of constantly shifting exchange rates and to control the price rise appropriately. Since the inflow of foreign funds reached to high proportions, so that the economic stability has been compromised, the policy went the way of the independent course design in a pool of selected European currencies.
The collapse of the economy forced the policy makers to a new course with active mutual credit control, subdued wage growth, financial impulses in supply and demand, and interest rates are kept low. This system of regulation, however, kept back the need for structural change, so it had to be given up in 1979. In the same year a fire destroyed large parts of the main building of the Austrian National Bank in Vienna. The repairs lasted until 1985.
Target in the eighties was to strengthen the economic performance using a competitive power comparison. The findings from the seventies stimulated the Austrian monetary policy to align the Schilling course at the Deutsche Mark to ensure price stability in the country. In addition, the structural change was initiated by inclusion in a large area. Stable, if not necessarily comfortable environment of monetary policy was a prerequisite, to secure the companies long-term productivity gains and thus safeguard their position in the economy.
Initially, this development stood a high level of unemployment in the way. Growth until the second half of the decade increased, at the same time increased the competitiveness and current accounts could be kept in balance.
In the nineties, the annexation of Austria took place in the European Community. 1995 Austria became a member of the European Union (EU) and joined the exchange rate mechanism of the European Monetary System. In 1998, the Central Banks (ESCB) have established the independence of institutions or bodies of the European Community and the governments of the EU Member States through an amendment to the National Bank Act of the Austrian National Bank to implement the goals and tasks of the European System. Thus, the legal basis for the participation of Austria in the third stage of Economic and Monetary Union (EMU) was created in 1999.
As of 1999
The Austrian National Bank, and other national central banks including the European Central Bank ( ECB), belongs to the European System of Central Banks.
On 1 January 1999 was introduced in the third stage of Economic and Monetary Union in Austria and ten other EU Member States, the euro as a common currency. The European Central Bank is henceforth responsible for monetary and currency policy, decisions in this regard will be taken in accordance with the Council of the European Central Bank.
Since May 2010, the OeNB is in full possession of the Republic of Austria, after originally lobbies, banks and insurance companies were involved with 50 % of the share capital in it. In 2011, the National Bank Act was adapted by an amendment (Federal Law Gazette I No. 50 /2011) in this circumstance, a renewed privatization is thus excluded by law.
The OeNB as a modern central bank
With the withdrawal from the retail business in the sixties as well as the first major internationalization and implementation of a strategic management in the seventies, the OeNB went on the way to a future-oriented central bank. Another major reform of banking began at the end of the eighties.
In terms of global development, the OeNB established in 1988 as a service company and expanded its guiding values - "security, stability and trust" - to the principles of " fficiency" and "cost-consciousness". The business center was optimized and strategic business experienced through targeted improvements a reinforcement. Be mentioned as examples are intensifying domestic cooperation in the area of payments by encouraging the creation of the Society for the Study co-payments (STUZZA), the liberalization of capital movements, the professional management of foreign exchange reserves, the improvement of the supply of money through the construction of the money center and the internationalization of business activities through the establishment of representative offices in Brussels (European Union), Paris (OECD) and the financial center of New York.
After Austria's accession to the EU in 1995, the OeNB participated in the European Monetary System (EMS ) and its Exchange Rate Mechanism. The integration in the third stage of Economic and Monetary Union (EMU) was the next step towards further development of policy stability. Since the conclusion of the Maastricht Treaty, the Austrian National Bank has very fully considered its role in the ESCB and created a basis for inclusion in the community. The profound economic and monetary policy of Austria was also a reference that qualified the OeNB to actively participate in the monetary future of Europe, a greater harmonization of the statistical framework and monetary policy instruments with a view to the euro system, the preparation of the issue of European banknotes, and the establishment of operational processes and organizational integration of business processes within the ESCB being specific objectives of the OeNB.
In the following, it came, inter alia, to the establishement of an economic study department, of an education or training initiative and to strengthen the position of payment transactions through the TARGET system.
A in 1996 created "OeNB master plan" provided important points for the upcoming transition to the euro.
In May 1998, a new pension system came into force, by which new employees were incorporated into a two-pillar model.
1999, Austria's participation in the third stage of EMU was manifest. The Austrian National Bank - as part of the ESCB - became the owner of the European Central Bank and received new powers in this context in the sense of participation in the monetary policy decision-making at the level of the European Community. With the introduction of the euro, monetary policy functions of the General Council have been transferred to the Governing Council. However, the implementation remains the responsibility of national central banks.
Activities of the Oesterreichische Nationalbank were or are, for example, the further professionalization of asset management, the expansion of the network of representative offices by opening a representative office in the financial center of London, preparation of the smooth introduction of euro cash in 2002 and the participation of the OeNB on the creation of the "A-SIT" (Center for secure Information Technology Center - Austria) and the "A-Trust" (society of electronic security systems in traffic GmbH ) in order to promote security in information technology.
de.wikipedia.org/wiki/Oesterreichische_Nationalbank
Managing Director Kristalina Georgieva, European Central Bank President Christine Lagarde, Federal Reserve Chairman Jerome Powell, Minister of Finance of Indonesia Sri Mulyani, and Prime Minister of Barbados Mia Mottley participate in the Debate on the Global Economy during the 2022 Spring Meetings at the International Monetary Fund.
IMF Photo/Cory Hancock
21 April 2022
Washington, DC, United States
Photo ref: CH220421126.arw
2016 IMF/World Bank Annual Meetings African Caucus and Governors' Meeting with the IMF Managing Director on Sunday, October 9 in Washington, D.C. Ryan Rayburn/IMF Photo
Managed a round of golf today and good that I started with this unusually marked golf ball and finished at the 18th green with the same ball! Golf is all about fun!!
Flickr Lounge - Weekly Theme (Week 37) ~ Red ....
Our Daily Challenge ~ Just For Fun ....
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Managing Director Kristalina Georgieva is participates in a panel titled “Natural Disasters and Climate Change: Building Resilience Through Adaptation” with IMF Chief Economist Gita Gopinath, Prime Minister of Barbados Mia Mottley, and Minister of Economy and Finance of Madagascar Richard Randriamandrato moderated by Bloomberg’s Haslinda Amin from the International Monetary Fund.
IMF Photo/Cory Hancock
16 June 2021
Washington, DC, United States
Photo ref: CH210616115.arw
International Monetary Fund Managing Director Christine Lagarde and best-selling author Michael Lewis hold a one on one discussion in the Atrium of the IMF Headquarters October 9, 2016 in Washington, DC. The discussion was part of the IMF/World Bank Annual Meetings events. IMF Staff Photo/Stephen Jaffe
World Bank Managing Director and COO Sri Mulyani Indrawati with some of the young beneficiaries of Productive Safety Nets Program (PSNP) in Sire District, Arsi, Ethiopia. Photo: Binyam Teshome / World Bank
International Monetary Fund Managing Director Christine Lagarde holds her press conference October 8, 2015 during the 2015 IMF/World Bank Annual Meetings in Lima, Peru. IMF Staff Photo/Stephen Jaffe
Managing Director and Chief Operating Officer of the World Bank, Sri Mulyani Indrawati, visits projects in Brazil. She watched a dance presentation at Complexo do Alemao slum, which struggled with drug trafficking violence for 30 years. Residents now enjoy better schools, health facilities, and transport services. Photo: Marco Antonio Teixeira / World Bank
stranger # 220 grace wasn't the first stranger i shot on at the melbourne 100 stranger meet-up, after managing to run late i found david, evan, neil and pete but before we'd gone more than few feet i was spotted a beautiful girl with a killer curl, she was standing by the tram stop looking confused, when i asked her if she had time for me to grab a few quick shots she said sure with an awesome accent, scottish i think, the only stipulation was that she wanted to catch a tram to brunswick to do some shopping and didn't know which one, after only a couple of shots a tram pulled up and i realised it was the one she needed so without getting her name or explaining the project she was gone, to make matters worse i hadn't changed my settings from the night before when i was out shooting the moon, it's fair to say that f22 and 'bulb' didn't do killer curl justice, it wasn't much further along the mall that i spotted grace who had three very well behaved kids in tow, at first i thought they were her children and when i asked her if they would like to be a part of the project, grace explained that they were her nieces and nephew and asked them if they wanted to have their photo taken, when grace asked what i wanted to do i was wondering about how to get the photo without her eyes being shadowed by her amazing hat when pete helped by suggesting we shoot against the black wall out of the sun, i took a shot of grace and some of the kids, as we were swapping details grace mentioned that she is a stylist and has her own consultancy agency YMC, thanks for being part of my stranger project grace
this shot was inspired by the amazing 100 Strangers group
this is my third go at 100 strangers, see my first 100 here
and my second 100 here
Managing Director Kristalina Georgieva facilitates a discussion on Regional Financing Arrangements during the 2020 Annual Meetings at the International Monetary Fund in Washington, DC, on October 13, 2020. IMF Photo/ Cory Hancock
I only managed to capture one shot of a dragonfly over the waterlilies at Woods Mill...this is the result.
First Deputy Managing Director David Lipton bids farewell to the International Monetary Fund on February 28, 2020. IMF Photo/Cory Hancock
At last, I managed to get a photo of Gizmo! Gizmo, and brother Markie, are staying at the shelter where I volunteer while they wait for a foster home. They were rescued from an environment of domestic violence and were both extremely withdrawn and nervous when I first saw them two weeks ago. Last week Markie had begun to relax and was very friendly, but Gizmo still wouldn't come near. Yesterday he'd relaxed enough to come through to the indoor section so I was able to talk to him. He's still very uncertain, but it was a huge improvement. He's a gorgeous boy, as you can see.
Gizmo and Markie now have a lovely foster home lined up and they'll be moving there together this week, so I won't see them again. When the non-violent partner (and children, if there are any) is resettled and safe they will all be reunited. I think the foster carer is in for a real treat ... I'm sure they won't often get a red point Birman to look after!
EXPLORE #398, 7 August 2011.
International Monetary Fund's Managing Director Christine Lagarde along with Jeremy Allaire, Benoit Coeure, Patrick Njoroge, and Sarah Youngwood talk about Money and Payments in the Digital Age at the IMF Headquarters during the 2019 IMF/World Bank Spring Meetings April 10, 2019 in Washington, DC. IMF Staff Photograph/Stephen Jaffe